Martine Hennard Dutheil de la Rochère is Professor of English and Comparative Literature at the University of Lausanne, Switzerland, and former Associate Dean of the Humanities.

martine bis photo for Carter book final-1 1.01.2013

She has published on Dickens, Conrad, Nabokov, Rushdie and Angela Carter, the international fairy tale tradition from Antiquity to the present, and literary translation (theory, practice, reception). She is the author of Origin and Originality in Salman Rushdie’s Fiction (1999), which focuses on the poetics and politics of cultural translation, and Reading, Translating, Rewriting: Angela Carter’s Translational Poetics (2013), which traces the interplay of translation and rewriting in Carter’s fiction. She co-edited After SatanEssays in Honour of Neil Forsyth (2010), Des Fata aux fées: regards croisés de l’Antiquité à nos jours (2011), and guest-edited Angela Carter traductrice – Angela Carter en traduction (2014). Her latest co-edited books are Cinderella across Cultures : New Directions and Interdisciplinary Perspectives (2016),  Translation and Creativity – La traduction comme création (2016), Visages: Histoires, représentations, créations (2017) and FéminIinIvisible: Women Authors of the Enlightenment. Übersetzen, Schreiben, Vermitteln (2018). She is an international corresponding member for the BCLA, and sits on the Advisory Boards of the Sussex Centre for Folklore, Fairy Tales and Fantasy as well as the Angela Carter Society.



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Cinderella across Cultures New Directions and Interdisciplinary Perspectives

The Cinderella story is retold continuously in literature, illustration, music, theatre, ballet, opera, film, and other media, and folklorists have recognized hundreds of distinct forms of Cinderella plots worldwide. The focus of this volume, however, is neither Cinderella as an item of folklore nor its alleged universal meaning. In Cinderella across Cultures,editors Martine Hennard Dutheil de la Rochère, Gillian Lathey, and Monika Wozniak analyze the Cinderella tale as a fascinating, multilayered, and ever-changing story constantly reinvented in different media and traditions.

The collection highlights the tale’s reception and adaptation in cultural and national contexts across the globe, including those of Italy, France, Germany, Britain, the Netherlands, Poland, and Russia. Contributors shed new light on classic versions of Cinderella by examining the material contexts that shaped them (such as the development of glass artifacts and print techniques), or by analyzing their reception in popular culture (through cheap print and mass media). The first section, “Contextualizing Cinderella,” investigates the historical and cultural contexts of literary versions of the tale and their diachronic transformations. The second section, “Regendering Cinderella,” tackles innovative and daring literary rewritings of the tale in the twentieth and twenty-first centuries, in particular modern feminist and queer takes on the classic plot. Finally, the third section, “Visualising Cinderella,” concerns symbolic transformations of the tale, especially the interaction between text and image and the renewal of the tale’s iconographic tradition.

The volume offers an invaluable contribution to the study of this particular tale and also to fairy­­-tale studies overall. Readers interested in the visual arts, in translation studies, or in popular culture, as well as a wider audience wishing to discover the tale anew will delight in this collection.

The most comprehensive and multi-faceted volume on Cinderella imaginable, covering subjects as varied as the seventeenth-century obsession with glass, publishing history, gender transmutations, and multimedial versions. This remarkable achievement will equally inspire scholars of fairy tales, international literature, popular culture, visual media, and children’s literature.

– Maria Nikolajeva, professor at University of Cambridge

These lively, groundbreaking essays are based in contemporary conceptions of fairy tales as an interweaving of forms and traditions. Their approaches to such topics as the role of the translator as co-creator or the situation of any particular fairy-tale text in a local cultural and material context are insightful and intriguing.

– John Stephens, emeritus professor at Macquarie University and co-author of Retelling Stories, Framing Culture

In summary, Cinderella across Cultures abundantly lives up to the promise of its title. Furthermore, this collection proves to be a very worthy addition to the many distinguished books and journals dedicated to the study of fairy tales published by the Wayne State University Press.

– D. L. Ashliman, Gramarye

The scope of its scholarship contributes to a much-needed broader understanding of the wide-ranging appeal of this story. [. . .] this most recent entry in the Wayne State series is a worthy addition to the small canon of contemporary scholarship focusing on specific tales. It is illuminating and thought-provoking reading, and an essential text for any fairy tale scholar.

– Martha Hixon, Children’s Literature Association Quarterly

A study of the Cinderella narrative no longer confined to folkloristics, it draws from fields as diverse as cultural and media studies, queer theory, translation studies, and museum studies. [. . .] It is yet again time for a radical refashioning of Cinderella in response to shifting socio-cultural paradigms.

– Shilpa Menon, Bookbird: A Journal of International Children’s Literature


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Wayne State UP Series in Fairy-Tale Studies (2013)

Carter has been the subject of many books and articles, particularly since her death in 1992. What sets Mme Hennard’s book apart from the crowd is her focus on Carter’s translations. She documents Carter’s movement from translation to new composition, with excellent references to contemporary translation theory and with a keen sense of the ways Carter transmutes her discoveries into something unexpected.

 Elizabeth Wanning Harries, Helen and Laura Shedd Professor Emerita of Modern Languages at Smith College

The originality of Angela Carter’s writing has long fired the impassioned interest of scholars, readers, and fellow writers; but none of us grasped the crucial place that translation occupies in her oeuvre. Martine Hennard Dutheil’s magisterial, deeply worked, and inspired study re-orients Carter, showing how, through her hitherto marginalized work rendering Charles Perrault and Mme de Beaumont, she broke through to newfoundlands across barriers of genre, language, and medium. This critical study is an act of loving and painstaking illumination of one of the great writers of fairy tale, and a major contribution to the field of fairy-tale studies.

 Marina Warner, professor at the University of Essex and author of Stranger Magic

This study marks an important new intervention in Carter criticism. While The Bloody Chamber is one of Carter’s best-known works, and the fairy-tale revisionism contained within it the subject of wide critical debate, no sustained attention has been paid to how this work is indebted to Carter’s expertise as translator. Martine Hennard’s ‘contrapuntal’ reading of both The Bloody Chamber stories and Carter’s earlier translations of Perrault’s tales allows for a new assessment of both translated and ‘original’ texts, demonstrating that Carter’s engagement with the fairy-tale form was wide ranging, many faceted, and multilingual. Drawing on Carter’s essays and journals, Hennard not only makes a convincing argument for Perrault as a seminal influence on Carter’s writing but also for the importance of translation as a cornerstone of her artistic practice. Both scholarly and readable, this book opens up a new area of inquiry for Carter scholars and offers a new way of reading familiar texts.

 Sarah Gamble, reader in English and gender at Swansea University

In Reading, Translating, Rewriting: Angela Carter’s Translational Poetics, author Martine Hennard Dutheil de la Rochère delves into Carter’s The Fairy Tales of Charles Perrault (1977) to illustrate that this translation project had a significant impact on Carter’s own writing practice. Hennard combines close analyses of both texts with an attention to Carter’s active role in the translation and composition process to explore this previously unstudied aspect of Carter’s work. She further uncovers the role of female fairy-tale writers and folktales associated with the Grimms’ Kinder- und Hausmärchen in the rewriting process, unlocking new doors to The Bloody Chamber.– Heidi Anne Heiner, Sur La Lune

Hennard’s perspective on translation goes far beyond the act of converting meaning from one language to another at a fixed point of time, but sees translation rather as a constant process of reading and re-reading, perceiving and representing. She discusses issues of ideologies alongside the process of translation, taking into consideration feminist criticism of fairy tales as sexist and showing Carter’s unique stance on gender issues in fairy tales. . . Reading, Translating, Rewriting: Angela Carter’s Translational Poetics will recharge studies on Angela Carter and make a very important contribution to the emerging field of literary-translation studies. For scholars and graduate students of literature and gender studies this book is a significant contribution.– Sadhana Naithani, Gramarye

Reviewed in Fabula by Didier Coste, ‘Si la traduction m’était contée’ (extract 2015): http://www.fabula.org/acta/document9237.php#tocfrom1n6

Le retour de la fée palimpseste
L’ouvrage de Martine Hennard est centré de façon très constante sur un auteur, Angela Carter, en particulier sur ce qui, dans son œuvre, touche au conte de fées ou en relève, et donc sur un genre de fictionnalité, le merveilleux, sur un genre, le féminin, sur une éthique et une périodisation esthétique et idéologique. Sa bibliographie puise peu dans la traductologie contemporaine, non plus que dans la théorie comparatiste. Il n’en est pas moins, de tous les travaux présentés dans le présent essai, celui qui contribue le mieux à accréditer l’idée que non seulement toute traduction digne de ce nom est écriture d’une lecture comparatiste, que non seulement la lecture traduisante fournit un modèle interprétatif indispensable, mais que toute écriture créatrice, loin de rompre un silence métaphysique et de se produire comme sa propre origine impossible, célèbre, en tant que réécriture et réemploi, une continuité anthropologique à travers la translation, le transfert, la métamorphose et la modernisation. Les ruptures, si ruptures il y a, n’y sont ni condition absolue d’une novation sur table rase, ni un obstacle à la continuité, dialectique ou non, mais l’occasion d’un franchissement qui ne crée pas sa valeur au seul titre de la subversion. Qui plus est, les perspectives poïétique et lectorale, sans cesser d’être analytiquement distinguées, sont ainsi rendues complémentaires comme elles devraient toujours l’être plutôt qu’antagonistes, de même que l’histoire factuelle de la production des textes avec celle de leur réception, et encore les relations de fait entre les textes (intertextualité en amont) avec leurs relations imaginées selon l’encyclopédie du lecteur (intertextualité en aval). C’est en activant ces deux moments de l’intertextualité qu’une lecture traductologique offre au comparatisme et à ses usagers le meilleur service.
33Les voyages et longs séjours d’A. Carter, au Japon par exemple, en une expérience parallèle à celle de Roland Barthes, la confrontent à une altérité maximale qui l’invite à se décentrer et à se voir de l’extérieur, en même temps que le pouvoir des images et l’intraduisible, empirique et non métaphysique ni métaphorique (elle ne savait pas le japonais), « étaient déjà une puissante stimulation » (p. 3). Ce pouvoir des images renvoie à la scène oniriquement illustrée du conte, mais aussi toujours déjà à la traduction intersémiotique. Ce n’est pas non plus par hasard que « comprendre la nature profondément transformative de la traduction » (p. 4) soit lié à l’expérience du conte merveilleux. Pas seulement par sa thématisation de la métamorphose, mais aussi en ce que le genre, d’une « simplicité trompeuse », est capable de muter, selon l’âge et le milieu de ses récepteurs, d’une didactique morale basique aux subtilités d’un érotisme équivoque, et d’un contage exécutif à une recréation pleine de surprises. Non pas magie commune de la traduction comme transcréation et du merveilleux, mais science partagée des possibles et des virtualités. M. Hennard ne fait donc pas appel à Derrida ni à G. Spivak sur la traduction qu’en ce que leurs propositions ont de moins contestable, de même que la notion de traduction n’est pas employée ni qualifiée de façon purement métaphorique, tandis qu’elle couvre néanmoins, logiquement et pragmatiquement, « les différents types de transposition identifiés par Roman Jakobson » (p. 5) — ce qui s’étend très pertinemment aux « métamorphoses éditoriales » de la traduction The Fairy Tales of Charles Perrault depuis sa première publication en 1977, c’est-à-dire à toutes les variations du paratexte, en rapport aussi, bien sûr, avec l’histoire de la perception générique des contes de Perrault.
34Tout bon comparatiste devrait en effet saisir l’objet livre (solide ou numérique) dans la spécificité de sa sémiologie matérielle, le fait que l’objet traverse le temps intact tout en étant pris en main comme monument et document de plus en plus archéologique, ou qu’il se transforme, se réincarne et se substitue au fil d’actualisations qui reflètent leur temps et défamiliarisent/refamiliarisent la lecture à chaque accès successif.
35Cette tension entre familiarisation et défamiliarisation, entre archive et « recontextualisation », entre classement et déclassement, localisation et délocalisation, reconnaissance et dé-connaissance, comme l’inquiétante étrangeté de lire-écrire un monde textuel en deux ou plusieurs langues, dans la stéréophonie du double qui n’est pas le même, c’est précisément le champ de forces comparatiste, celui de toute lecture qui fait sens et sensations (pluriels), dans l’hésitation et le jeu des possibles avec les voies barrées, à l’opposé de toute exécution de décryptage mécanique et réducteur. M. Hennard note donc avec raison comment « l’expérience défamiliarisante » de la première lecture par A. Carter des contes de Perrault dans l’original a « radicalement transformé sa perception du genre » (p. 44).
36M. Hennard montre encore de manière très précise comment chaque étape d’appréhension du conte de fées, depuis la réception enfantine dans la langue maternelle jusqu’à la réécriture dans Bloody Chamber and Other Stories, en passant par la traduction modernisante procurant une relecture qui pérennise la transmission des leçons les plus simples aux enfants, est intégrée comme pulsion et comme motivation, pas seulement comme matériau dans la suivante. Ainsi « la traduction de Carter anticipe […] un motif central de sa réécriture, à savoir l’association de la figure de Barbe Bleue avec Dieu, qui cadre la réception du texte de Perrault dans la tradition littéraire et iconographique […] » (p. 123) Ce « regard par le trou de serrure de la culture » n’est pas foncièrement dissymétrique de celui que le trou de serrure de la lecture littéraire, « pas pour info », procure sur la culture en la photographiant avec différents objectifs.
37Le double sens du titre du dernier chapitre, « Giving up the Ghost », « rendre l’âme », par euphémisation métaphorique, et, littéralement, « renoncer au fantôme », le tenir pour inutile, est alors pleinement porteur du message ambigu et donc complet de la transposition jamais terminale, de la (re)lecture et de la (ré)écriture reprises à chaque pause mortelle : « la possibilité du changement et la menace de la répétition » (p. 298). Reading, Translating, Rewriting est une leçon de choses raisonnée qui, en 300 pages, nous rassure au sujet de l’avenir de l’intellection et de la jouissance comparatives des textes, jamais menacées tant qu’elles ont soin de combiner la poétique comparée, la traductologie littéraire et l’anthropologie culturelle, ce qui va plus loin que l’affirmation de Homi Bhabha selon qui « il faut se souvenir que c’est l’“inter” — le tranchant de la traduction et de la renégociation, l’espace entre-deux — qui porte le fardeau du sens de la culture » (p. 298).
Reviewed in Marvels & Tales by Michelle Ryan-Sautour (extract 2015)

It is widely known that Angela Carter’s interest in the fairy tale spanned from her fictional rewritings in The Bloody Chamber (1979) to her role as editor of The Virago Book of Fairy Tales (1990) and The Second Virago Book of Fairy Tales (1992). She read the fairy tale across many languages and cultures. However, with the notable exception of Anna Watz’s article, “Angela Carter and Xavière Gauthier’s Surréalisme et Sexualité” (2010), which acknowledges Carter’s involvement with Surrealism through translation, Carter’s practice of translation has often been relegated to the background of criticism. Martine Hennard Dutheil de la Rochère’s Reading, Translating, Rewriting: Angela Carter’s Translational Poetics (2013) challenges this tendency by placing translation at the foreground of Angela Carter’s engagement with the fairy tale.

Carter’s writing was vast and varied, ranging from nonfiction, essays, and journalism to translation, editing, book reviews, short stories, theater, performance texts, radio plays, novels, short stories, and poetry. Her reading was as diversified as her writing, moving beyond geographic, linguistic, and cultural boundaries to draw from multiple traditions. (…) Such transnational, translingual, and transgeneric migrations of narrative are essential territories for fairy-tale scholarship. Hennard investigates the contours of these different “trans” in relation to Carter’s deep relationship with the cross-cultural imagination through the lens of translation. Hennard cites the work of Homi K. Bhabha (1994), as she explores how translation not only underlies the dissemination of fairy-tale narrative but is also intertwined with a sense of in-betweenness in Carter’s writing. She demonstrates how translation feeds Carter’s poetics on many levels, even extending beyond text into territories of intermedial and intersemiotic production. For Hennard the practice of translation is intertwined with creation, as it allies creative reading with creative writing (2). The word translation expands in meaning throughout Hennard’s study, as she redeploys the term to propose fresh insights into Carter’s engagement with the fairy tale.

The book provides an extensive introduction and first chapter that investigate the range of Carter’s reading and translation practices and examine Carter’s numerous “French connections,” often integrating striking discoveries from the Angela Carter archive housed at the British Library. Hennard’s research attests to her extensive knowledge of the field of fairy-tale studies yet maintains an astonishing level of readability. The work is accessible to undergraduate and graduate students, while at the same time proposing observations that will interest the most experienced fairy-tale scholars. There is also close attention to textual detail, an essential aspect of any work that deals with translation. The work, however, is not limited to the practice of translation as such but also places emphasis on how this activity informs Carter’s poetics.

Reviewed in Translation Studies by Karen Seago (extract 2016)


Hennard Dutheil de la Rochère establishes how Carter’s translation and her creative revisioning complement each other and allow for a full rendering of the French source texts’ complexity. The translations (aimed at a child reader) simplify, modernize and have a subtle, emancipatory didactic dimension, while the rewriting (aimed at an adult reader) brings out the omitted subtexts of Perrault’s and Beaumont’s tales, exploring and foregrounding them in a way that is often in direct contradiction of Carter’s translation decisions. These contrapuntal readings are sustained throughout the book, teasing out nuanced meanings in a carefully woven intertextual net which “sheds light on Carter’s double project of translation and rewriting as interconnected and yet distinct” (p. 15) in a way I have not encountered before. This is also one of the main contributions of the book to translation studies: it is a rich and carefully argued demonstration of translation as creative production, even in terms of productive misreading. (…) I very much enjoyed this book and recommend it; it achieves its aim of showing the inter-connectedness of reading, writing and translating and offers new insights in a sometimes challenging thematic argument.


RIGGS, Ashley. Hennard Dutheil de la Rochère, Martine (2013). Reading, Translating, Rewriting: Angela Carter’s Translational Poetics. Detroit, MI: Wayne State University Press. In: Parallèles, 2015, n° 27/1, p. 171-174. https://archive-ouverte.unige.ch/unige:82402




2015-07-27 19.06.54

Centre de Traduction Littéraire de Lausanne – Cahiers du CTL (2014)

N° 56: Angela Carter traductrice – Angela Carter en traduction. Ed. Martine Hennard Dutheil de la Rochère, série: Théorie, 2014, 184 p. La traduction a joué un rôle clé dans l’élaboration de l’œuvre d’Angela Carter. Que devient son célèbre recueil de réécritures de contes, The Bloody Chamber, lorsqu’il est à son tour traduit en japonais, en français, en allemand, en italien, en russe et en hongrois?



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Hennard Dutheil de la Rochère, Martine, and Véronique Dasen, eds. Des Fata aux fées: regards croisés de l’Antiquité à nos jours. Etudes de Lettres 289 (2011 3-4).

Where does the Sleeping Beauty tale come from? Who are the «fairies» that preside over the birth of the little princess? This volume collects various essays that bear witness to the extraordinary richness and complexity of this familiar story, starting with ancient Middle-Eastern birth cults and rituals. The fate that is determined at the moment of birth, linking as it does life-span and speech, is woven into the etymology of the word fairy itself, and this connection threads through the history of the tale in Western literature, art and culture from Antiquity to the present day. The volume brings to light the long literary and iconographic tradition related to La Belle au bois dormant/Sleeping Beauty, from Sumerian bas-reliefs to Perrault’s and Grimm’s classic versions of the tale to contemporary rewritings and film adaptations.

D’où vient l’histoire de La Belle au bois dormant? Qui sont les «fées» présentes lors de la naissance de la petite princesse? Ce volume rassemble des contributions qui rendent compte de l’extraordinaire richesse et complexité de cette vieille histoire que l’on croyait familière, depuis ses lointaines origines dans les cultes et rites de la naissance au Moyen-Orient. Le destin qui se joue au moment de la naissance lie la vie et la parole, et cette association inscrite dans l’étymologie du mot fée s’est manifestée dans l’art, la littérature et la culture occidentale jusqu’à aujourd’hui. Le volume propose des éclairages inédits sur la longue tradition iconographique et littéraire en lien avec La Belle au bois dormant, des reliefs sumériens aux célèbres contes de Perrault et des Grimm, jusqu’à leurs réécritures et adaptations cinématographiques contemporaines.

Reviewed in Gramarye (Winter 2013) – PDF

Reviewed in Médievales Automne 2014 – http://medievales.revues.org/7329


After_SatanStirling, Kirsten and Martine Hennard Dutheil de la Rochère, eds. After Satan. Essays in Honour of Neil Forsyth. Newcastle-on-Tyne: Cambridge Scholars Publishing, 2010.
This volume is the result of a collective desire to pay homage to Neil Forsyth, whose work has significantly contributed to scholarship on Satan. This volume is “after” Satan in more ways than one, tracing the afterlife of both the satanic figure in literature and of Neil Forsyth’s contribution to the field, particularly in his major books The Old Enemy: Satan and the Combat Myth (Princeton UP, 1987, revised 1990) and The Satanic Epic (Princeton UP, 2003). The essays in this volume draw on Forsyth’s work as a focus for their analyses of literary encounters with evil or with the Devil himself, reflecting the richness and variety of contemporary approaches to the age-old question of how to represent evil. All the contributors acknowledge Forsyth’s influence in the study of both the Satan-figure and Milton’s Paradise Lost. But beyond simply paying homage to our honoree, the articles collected here trace the lineage of Satan through literary history, showing how he often functions as a necessary other against which a community defines itself, and is therefore bound up in discourse and politics. They chart the demonised other through biblical history and medieval chronicle, Shakespeare and Milton, to nineteenth-century fiction and the contemporary novel. Many of the contributors find that literary evil is mediated through the lens of the Satan of Paradise Lost, and their articles address the notion, raised by Neil Forsyth in The Satanic Epic, that the satanic figures under consideration are particularly interested in linguistic ambivalence and the twisted texture of literary works themselves. The multiple responses to evil and the continuous reinvention of the Devil through the centuries all reaffirm his textual presence, his changing forms necessarily inscribed in the shifting history of western literary culture.

ISBN 9781443823388



Hennard Dutheil de la Rochère, Martine. Origin and Originality in Rushdie’s Fiction. Bern, etc: Peter Lang, 1999.


Origin and Originality in Rushdie’s Fiction explores the problematic question of origin in Salman Rushdie’s fictional and non-fictional writings. The book is informed by the theoretical work of the post-colonial critics Edward Said and Homi Bhabha. It also draws on Jacques Derrida’s insight that the quest for origins or foundations always reveals that things didn’t happen the way they should have, which inevitably subverts common notions of identity, truth and presence. Martine Hennard Dutheil suggests that the consequences of the loss of origin are central to Rushdie’s literary production as well as to his social and political thinking. Her study explores different aspects of the representation of origins, relating these to Rushdie’s rewriting of both European and Islamic literary traditions, the construction and dramatization of the migrant condition, and the ‘Rushdie affair’, which involved distortions of the Qur’anic scripture and of authorial intentions. Through close readings, the book demonstrates that the loss of origin brings about a dismantling of the binary oppositions which structure the Western and the Islamic world-views. Rushdie’s most provocative strategy is not so much his critique of Islam as his radical deconstruction of the metaphysics of presence common to both traditions. Beyond the controversial episodes, Rushdie’s questioning of origin becomes the very condition of possibility for fiction writing.

 ISBN 9783906762630

Publisher’s website



N° 57: La traduction comme création – Translation and Creativity. Ed. Martine Hennard Dutheil de la Rochère et Irene Weber Henking, série: Théorie, 2016, 257 p.

« It is absurd to see translation as anything other than a creative literary activity, for translators are all the time engaging with texts first as readers and then as rewriters, as recreators of that text in another language … Translation was a means not only of acquiring more information about other writers and their work, but also of discovering new ways of writing » (Susan Bassnett)

« Ecrire à travers le miroir des langues: les poétiques traductives d’Angela Carter » in Translation and Creativity CTL 57 2016 –  read PDF




N° 58: fémin|in|visible – Women authors of the Enlightenment / Übersetzen, schreiben, vermitteln
Ed. Angela Sanmann, Martine Hennard Dutheil de la Rochère & Valérie Cossy, série: Théorie, 2018, 345 p.
“We need to explore the activities of women translators in the past with an awareness of our own preconceived ideas and agendas (…) and a heightened sensitivity to the complexities of gender as an analytical category. This means recognising that gender is just one of the categories which structures the literary field alongside others such as genre, social class, age and religious confession.” Hilary Brown
Prix: CHF 20.-

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